Chris Barth

Dirty Projectors’ astonishing seventh album Swing Lo Magellan, though not without its challenges, is the band’s most approachable album yet.

Read our review of Beach House’s gorgeous new album Bloom here. Enter our contest to win a copy of Bloom on CD and Vinyl here.

The dream pop duo has recorded an album that is spotless from start to finish, an unquestionably beautiful collection of songs. But man, does it sound familiar.

It feels like something new and it should come with an “I Survived The Money Store” t-shirt.

Acousmatic Sorcery is less a collection of songs and more an experiment in sound-making, as if Willis Earl Beal walks to and fro, picking up instruments and figuring out how to use them make something like music.

Burial pins down the unsettling elements of everyday urban life — the anonymity, the disorienting movement, the shared loneliness — and communicates them, nearly wordlessly, in a way that makes them seem simultaneously familiar and foreboding

Kid Cudi is a better singer/guitarist than Lil Wayne.

How do you catch thunder in a bottle twice?

Give You The Ghost is a potent mix of double-drum heartbeats and agile melodies, and it strikes both emotional and visceral nerves.

It would be difficult to come up with a better title for ScHoolboy Q’s second album, Habits & Contradictions. It’s a calming album at times, but leaves the listener’s pulse racing, even after 17 tracks and over an hour of music.

Enough Thunder is not Blake’s most dynamic or genre-defying work, but neither is it a definitive statement of what is to come. Instead, it is a snapshot of a period of his creativity, a peek into his sketchbook.